It was a wondrous palace, in which death sat smiling and content.

  XIII

  WHAT WAS SEEN THERE; AND WHAT PERCEIVED DIMLY

  A place of shade, which yet was dazzling to the eyes—such was this surprising cavern.

  The beating of the sea made itself felt throughout the cavern. The oscillation without raised and depressed the level of the waters within, with the regularity of respiration. A mysterious spirit seemed to fill this great organism, as it swelled and subsided in silence.

  The water had a magical transparency, and Gilliatt distinguished at various depths submerged recesses, and surfaces of jutting rocks ever of a deeper and a deeper green. Certain dark hollows, too, were there, probably too deep for soundings.

  On each side of the submarine porch, rude elliptical arches, filled with shallows, indicated the position of small lateral caves, low alcoves of the central cavern, accessible, perhaps, at certain tides. These openings had roofs in the form of inclined planes, and at angles more or less acute. Little sandy beaches of a few feet wide, laid bare by the action of the water, stretched inward, and were lost in these recesses.

  Here and there seaweeds of more than a fathom in length undulated beneath the water, like the waving of long tresses in the wind; and there were glimpses of a forest of sea plants.

  Above and below the surface of the water, the wall of the cavern from top to bottom—from the vault down to the depth at which it became invisible—was tapestried with that prodigious efflorescence of the sea, rarely perceived by human eyes, which the old Spanish navigators called praderias del mar. A luxuriant moss, having all the tints of the olive, enlarged and concealed the protuberances of granite. From all the jutting points swung the thin fluted strips of varech, which sailors use as their barometers. The light breath which stirred in the cavern waved to and fro their glossy bands.

  Under these vegetations there showed themselves from time to time some of the rarest bijoux of the casket of the ocean; ivory shells, strombi, purple-fish, univalves, struthiolaires, turriculated cerites. The bell-shaped limpet shells, like tiny huts, were everywhere adhering to the rocks, distributed in settlements, in the alleys between which prowled oscabrions, those beetles of the sea. A few large pebbles found their way into the cavern; shell-fish took refuge there. The crustacea are the grandees of the sea, who, in their lacework and embroidery, avoid the rude contact of the pebbly crowd. The glittering heap of their shells, in certain spots under the wave, gave out singular irradiations, amidst which the eye caught glimpses of confused azure and gold, and mother-of-pearl, of every tint of the water.

  Upon the side of the cavern, a little above the water-line, a magnificent and singular plant, attaching itself, like a fringe, to the border of seaweed, continued and completed it. This plant, thick, fibrous, inextricably intertwined, and almost black, exhibited to the eye large confused and dusky festoons, everywhere dotted with innumerable little flowers of the colour of lapis-lazuli. In the water they seemed to glow like small blue flames. Out of the water they were flowers; beneath it they were sapphires. The water rising and inundating the basement of the grotto clothed with these plants, seemed to cover the rock with gems.

  At every swelling of the wave these flowers increased in splendour, and at every subsidence grew dull again. So it is with the destiny of man; aspiration is life, the outbreathing of the spirit is death.

  One of the marvels of the cavern was the rock itself. Forming here a wall, there an arch, and here again a pillar or pilaster, it was in places rough and bare, and sometimes close beside, was wrought with the most delicate natural carving. Strange evidences of mind mingled with the massive stolidity of the granite. It was the wondrous art-work of the ocean. Here a sort of panel, cut square, and covered with round embossments in various positions, simulated a vague bas-relief. Before this sculpture, with its obscure designs, a man might have dreamed of Prometheus roughly sketching for Michael Angelo. It seemed as if that great genius with a few blows of his mallet could have finished the indistinct labours of the giant. In other places the rock was damasked like a Saracen buckler, or engraved like a Florentine vase. There were portions which appeared like Corinthian brass, then like arabesques, as on the door of a mosque; then like Runic stones with obscure and mystic prints of claws. Plants with twisted creepers and tendrils, crossing and recrossing upon the groundwork of golden lichens, covered it with filigree. The grotto resembled in some wise a Moorish palace. It was a union of barbarism and of goldsmith's work, with the imposing and rugged architecture of the elements.

  The magnificent stains and moulderings of the sea covered, as with velvet, the angles of granite. The escarpments were festooned with large-flowered bindweed, sustaining itself with graceful ease, and ornamenting the walls as by intelligent design. Wall-pellitories showed their strange clusters in tasteful arrangement. The wondrous light which came from beneath the water, at once a submarine twilight and an Elysian radiance, softened down and blended all harsh lineaments. Every wave was a prism. The outlines of things under these rainbow-tinted undulations produced the chromatic effects of optical glasses made too convex. Solar spectra shot through the waters. Fragments of rainbows seemed floating in that transparent dawn. Elsewhere—in other corners—there was discernible a kind of moonlight in the water. Every kind of splendour seemed to mingle there, forming a strange sort of twilight. Nothing could be more perplexing or enigmatical than the sumptuous beauties of this cavern. Enchantment reigned over all. The fantastic vegetation, the rude masonry of the place seemed to harmonise. It was a happy marriage this, between these strange wild things. The branches seeming but to touch one another clung closely each to each. The stern rock and the pale flower met in a passionate embrace. Massive pillars had capitals and entwining wreaths of delicate garlands, that quivered through every fibre, suggestive of fairy fingers tickling the feet of a Behemoth, and the rock upheld the plant, and the plant clasped the rock with unnatural joy of attraction.

  The effect produced by the mysterious reconciliation of these strange forms was of a supreme and inexpressible beauty.

  The works of nature, not less than the works of genius, contain the absolute, and produce an impression of awe. Something unexpected about them imperiously insists on our mental submission; we are conscious of a premeditation beyond our human scope, and at no time are they more startling than when we suddenly become aware of the beauty that is mingled with their terror.

  This hidden grotto was, if we may use the expression, siderealised. There was everything in it to surprise and overwhelm. An apocalyptic light illuminated this crypt. One could not tell if that which the eyes looked upon was a reality, for reality bore the impress of the impossible. One could see, and touch, and know that one was standing there, and yet it was difficult to believe in it all.

  Was it daylight which entered by this casement beneath the sea? Was it indeed water which trembled in this dusky pool? Were not these arched roofs and porches fashioned out of sunset clouds to imitate a cavern to men's eyes? What stone was that beneath the feet? Was not this solid shaft about to melt and pass into thin air? What was that cunning jewellery of glittering shells, half seen beneath the wave? How far away were life, and the green earth, and human faces? What strange enchantment haunted that mystic twilight? What blind emotion, mingling its sympathies with the uneasy restlessness of plants beneath the wave?

  At the extremity of the cavern, which was oblong, rose a Cyclopean archivolte, singularly exact in form. It was a species of cave within a cave, of tabernacle within a sanctuary. Here, behind a sheet of bright verdure, interposed like the veil of a temple, arose a stone out of the waves, having square sides, and bearing some resemblance to an altar. The water surrounded it in all parts. It seemed as if a goddess had just descended from it. One might have dreamed there that some celestial form beneath that crypt or upon that altar dwelt for ever pensive in naked beauty, but grew invisible at the approach of mortals. It was hard to conceive that majestic chamber without a vision within. The day-dream of the intruder might evoke again the marvellous apparition. A flood of chaste light falling upon white shoulders scarcely seen; a forehead bathed with the light of dawn; an Olympian visage oval-shaped; a bust full of mysterious grace; arms modestly drooping; tresses unloosened in the aurora; a body delicately modelled of pure whiteness, half-wrapped in a sacred cloud, with the glance of a virgin; a Venus rising from the sea, or Eve issuing from chaos; such was the dream which filled the mind.

  It seemed improbable that no phantom figure haunted this abode. Some woman's form, the embodiment of a star, had no doubt but shortly left the altar. Enveloped in this atmosphere of mute adoration the mind pictured an Amphitryon, a Tethys, some Diana capable of passion, some idealistic figure formed of light, looking softly down in the surrounding dusk. It was she who had left behind in the cave this perfumed luminosity, an emanation from her star-body. The dazzling phantom was no longer visible, she was only revealed by the invisible, and the sense of her presence lingered, setting the whole being voluptuously a-quiver. The goddess had departed, but divinity remained.

  The beauty of the recess seemed made for this celestial presence. It was for the sake of this deity, this fairy of the pearl caverns, this queen of the Zephyrs, this Grace born of the waves, it was for her—as the mind, at least, imagined—that this subterranean dwelling had been thus religiously walled in, so that nothing might ever trouble the reverent shadows and the majestic silence round about that divine spirit.

  Gilliatt, who was a kind of seer amid the secrets of nature, stood there musing, and sensible of confused emotions.

  Suddenly, at a few feet below him, in the delightful transparence of that water like liquid jewels, he became sensible of the approach of something of mystic shape. A species of long ragged band was moving amidst the oscillation of the waves. It did not float, but darted about of its own will. It had an object; was advancing somewhere rapidly. The object had something of the form of a jester's bauble with points, which hung flabby and undulating. It seemed covered with a dust incapable of being washed away by the water. It was more than horrible; it was foul. The beholder felt that it was something monstrous. It was a living thing; unless, indeed, it were but an illusion. It seemed to be seeking the darker portion of the cavern, where at last it vanished. The heavy shadows grew darker as its sinister form glided into them, and disappeared.

  BOOK II

  THE LABOUR

  I

  THE RESOURCES OF ONE WHO HAS NOTHING

  The cavern did not easily part with its explorers. The entry had been difficult; going back was more difficult still. Gilliatt, however, succeeded in extricating himself; but he did not return there. He had found nothing of what he was in quest of, and he had not the time to indulge curiosity.

  He put the forge in operation at once. Tools were wanting; he set to work and made them.

  For fuel he had the wreck; for motive force the water; for his bellows the wind; for his anvil a stone; for art his instinct; for power his will.

  He entered with ardour upon his sombre labours.

  The weather seemed to smile upon his work. It continued to be dry and free from equinoctial gales. The month of March had come, but it was tranquil. The days grew longer. The blue of the sky, the gentleness of all the movements of the scene, the serenity of the noontide, seemed to exclude the idea of mischief. The waves danced merrily in the sunlight. A Judas kiss is the first step to treachery; of such caresses the ocean is prodigal. Her smile, like that of woman's sometimes, cannot be trusted.

  There was little wind. The hydraulic bellows worked all the better for that reason. Much wind would have embarrassed rather than aided it. Gilliatt had a saw; he manufactured for himself a file. With the saw he attacked the wood; with the file the metal. Then he availed himself of the two iron hands of the smith—the pincers and the pliers. The pincers gripe, the pliers handle; the one is like the closed hand, the other like the fingers. By degrees he made for himself a number of auxiliaries, and constructed his armour. With a piece of hoop-wood he made a screen for his forge-fire.

  One of his principal labours was the sorting and repair of pulleys. He mended both the blocks and the sheaves of tackle. He cut down the irregularities of all broken joists, and reshaped the extremities. He had, as we have said, for the necessities of his carpentry, a quantity of pieces of wood, stored away, and arranged according to the forms, the dimensions, and the nature of their grain; the oak on one side, the pine on the other; the short pieces like riders, separated from the straight pieces like binding strakes. This formed his reserve of supports and levers, of which he might stand in great need at any moment.

  Any one who intends to construct hoisting tackle ought to provide himself with beams and small cables. But that is not sufficient. He must have cordage. Gilliatt restored the cables, large and small. He frayed out the tattered sails, and succeeded in converting them into an excellent yarn, of which he made twine. With this he joined the ropes. The joins, however, were liable to rot. It was necessary, therefore, to hasten to make use of these cables. He had only been able to make white tow, for he was without tar.

  The ropes mended, he proceeded to repair the chains.

  Thanks to the lateral point of the stone anvil, which served the part of the conoid bicorn, he was able to forge rings rude in shape but strong. With these he fastened together the severed lengths of chains, and made long pieces.

  To work at a forge without assistance is something more than troublesome. He succeeded nevertheless. It is true that he had only to forge and shape articles of comparatively small size, which he was able to handle with the pliers in one hand, while he hammered with the other.

  He cut into lengths the iron bars of the captain's bridge on which Clubin used to pass to and fro from paddle-box to paddle-box giving his orders; forged at one extremity of each piece a point, and at the other a flat head. By this means he manufactured large nails of about a foot in length. These nails, much used in pontoon making, are useful in fixing anything in rocks.

  What was his object in all these labours? We shall see.

  He was several times compelled to renew the blade of his hatchet and the teeth of his saw. For renotching the saw he had manufactured a three-sided file.

  Occasionally he made use of the capstan of the Durande. The hook of the chain broke: he made another.

  By the aid of his pliers and pincers, and by using his chisel as a screwdriver, he set to work to remove the two paddle-wheels of the vessel; an object which he accomplished. This was rendered practicable by reason of a peculiarity in their construction. The paddle-boxes which covered them served him to stow them away. With the planks of these paddle-boxes, he made two cases in which he deposited the two paddles, piece by piece, each part being carefully numbered.

  His lump of chalk became precious for this purpose.

  He kept the two cases upon the strongest part of the wreck.

  When these preliminaries were completed, he found himself face to face with the great difficulty. The problem of the engine of the Durande was now clearly before him.

  Taking the paddle-wheels to pieces had proved practicable. It was very different with the machinery.

  In the first place, he was almost entirely ignorant of the details of the mechanism. Working thus blindly he might do some irreparable damage. Then, even in attempting to dismember it, if he had ventured on that course, far other tools would be necessary than such as he could fabricate with a cavern for a forge, a wind-draught for bellows, and a stone for an anvil. In attempting, therefore, to take to pieces the machinery, there was the risk of destroying it.

  The attempt seemed at first sight wholly impracticable.

  The apparent impossibility of the project rose before him like a stone wall, blocking further progress.

  What was to be done?

  II

  WHEREIN SHAKESPEARE AND ÆSCHYLUS MEET

  Gilliatt had a notion.

  Since the time of the carpenter-mason of Salbris, who, in the sixteenth century, in the dark ages of science—long before Amontons had discovered the first law of electricity, or Lahire the second, or Coulomb the third—without other helper than a child, his son, with ill-fashioned tools, in the chamber of the great clock of La Charité-sur-Loire, resolved at one stroke five or six problems in statics and dynamics inextricably intervolved like the wheels in a block of carts and waggons—since the time of that grand and marvellous achievement of the poor workman, who found means, without breaking a single piece of wire, without throwing one of the teeth of the wheels out of gear, to lower in one piece, by a marvellous simplification, from the second story of the clock-tower to the first, that massive monitor of the hours, made all of iron and brass, "large as the room in which the man watches at night from the tower," with its motion, its cylinders, its barrels, its drum, its hooks, and its weights, the barrel of its spring steel-yard, its horizontal pendulum, the holdfasts of its escapement, its reels of large and small chains, its stone weights, one of which weighed five hundred pounds, its bells, its peals, its jacks that strike the hours—since the days, I say, of the man who accomplished this miracle, and of whom posterity knows not even the name—nothing that could be compared with the project which Gilliatt was meditating had ever been attempted.